REVIEW: ‘Of Mice and Men’ finds James Franco in CliffsNotes mode (Richard Phibbs / Associated Press)
REVIEW: Annette Bening pays fine tribute in ‘Ruth Draper’s Monologues’ (Allen J. Schaben / Los Angeles Times)
REVIEW: ‘Bullets Over Broadway’ misses the bull’s-eye (Paul Kolnik)
REVIEW: Little drama in ‘Act One'; still, there’s some good theater (Joan Marcus / Lincoln Center Theater)
MORE: Bryan Cranston goes ‘All the Way’ from meth lab to Oval Office (Evgenia Eliseeva / Neil Simon Theatre)
The casting of the “Harry Potter” frontman as the psychologically disturbed stable boy caused a stir as the then 17-year-old would appear nude in one scene.
Radcliffe wowed critics and earned a Drama Desk nomination for his role. (Uli Weber / Associated Press)
While Taylor’s film career was waning, the limited run sold out the day it was announced. Taylor, then 49, earned a Tony nomination.
Taylor returned to Broadway, starring opposite Richard Burton, in “Private Lives.”
The show aimed to capitalize on the public’s fascination with couple’s off-stage relationship (Taylor and Burton had twice divorced before starring together on stage), but it closed after 63 performances. (Warner Home Video)
Turner played Maggie, a role recently reprised by Scarlett Johansson, and earned a Tony nod for her efforts.
In 2002, the actress took on the seductive role of Mrs. Robinson (pictured) in “The Graduate” opposite Jason Biggs and Alicia Silverstone. (Ari Mintz / Newsday)
“Ann,” also penned by Taylor, marked the Emmy-winning actress’ return to Broadway after three decades.
“I knew I had to get the persona, what made everybody so nuts for her, rather than the policy or the politics,” Taylor recently told The Times of bringing the late politician back in the spotlight. (The Hartman Group)
Times theater critic praised Midler’s performance in the one-woman show, writing that she was “galvanizing” in a role that “barely requires her to move anything but her mouth.”
But when the Tony nominations came around, Midler’s name was noticeably left off the list. (Richard Termine)
The two-person play, which cast the duo as a pair of cops, opened Sept. 29, 2009. (Joan Marcus / AP)
Recalling an age of highly crafted public personas, the new Broadway play “I’ll Eat You Last: A Chat with Sue Mengers” reflects on a Hollywood era when movie deals were made over dinner parties instead of smartphones.
Bette Midler stars as the rough-talking, pot-smoking superagent Sue Mengers in a much-anticipated production that opened Wednesday at the Booth Theatre.
Mengers, the mother of a male-dominated business, repped some of the top stars in the ‘70s, including Barbra Streisand, Faye Dunaway, Burt Reynolds and Nick Nolte.
Tony-winner John Logan (“Red”) penned the one-woman show set in Mengers’ Beverly Hills living room during a darker workday with Midler-as-Mengers dishing on her A-list clients.
“I’ll Eat You Last” marks Midler’s return to the stage after a 33-year absence. The first reviews from New York are in, and so far, critics are hungry for more.
Times theater critic Charles McNulty wrote that Milder’s stage presence is “galvanizing” in a role that “barely requires her to move anything but her mouth.” He added that the script skims the surface of Mengers’s complex character, but Midler charms audiences into “enjoying this experience for what it is: a Broadway bonbon.”
Entertainment Weekly’s Lisa Schwarzbaum writes that the play “flows gracefully,” flitting from Hollywood wisdom to gossip, and that under Joe Mantello’s “dynamic direction” Midler manages to make “lounging and smoking look both lazy and athletic.”
Charles Isherwood of the New York Times praised Midler’s “lusciously entertaining” performance in a “delectable soufflé" of a show. He added while Logan wrote a “tangy and funny” script, only Midler could captivate an audience “from first joke to last toke.”
The Chicago Tribune’s Chris Jones writes that Midler “gives good dish” and the audience eats it up like “a star-struck caterer used to listening at the door.” And for those who can afford an invite to the party, watching an “outsize character playing an outsize character” makes for a “delightful evening.”